Smithsonian Libraries has been working to share its collection of artists’ books. One of the end products of this initiative has been the creation of a new Smithsonian Libraries artists’ book collection portal where visitors can explore the many artworks in the collection and learn more about the medium. As part of my interest and research into the medium of artists’ books as and as the branch librarian for the Smithsonian American more »
Recently, you may have heard about the ways art from the Hudson River School has been a source of inspiration for new artistic works. Well, the luminous landscape paintings have inspired us, too. In honor of Black History Month, we’d like to highlight a couple of African American artists with ties the school. These artists have paintings in the Smithsonian American Art Museum collection as well as an Art and Artist Files more »
Starting with a summer professional internship project in 2011, Smithsonian Libraries has been working to share its collection of artists’ books. One of the end products of the this initiative has been the creation of a new Smithsonian Libraries artists’ book collection portal where visitors can explore the many artworks in the collection and learn more about the medium.
—This post was contributed by Rita Sausmikat and Maya Riser-Kositsky, interns at the American Art Museum/National Portrait Gallery (AA/PG) Library summer 2014. An “artist’s book” can generally be defined as a work of art in book form, though this guideline is interpreted and finessed to fit the artist’s vision. Commonly, artists’ books are portable and interactive, and utilize a plethora of methods, technologies, and materials. Just as with artwork, artists’ books often more »
~This post was written by Katherine Williamson, an intern at the American Art/ Portrait Gallery library. As part of my work as an American Art/Portrait Gallery Library (AA/PG) intern, I answer reference questions from patrons that involve some type of research, either within our collection or using online sources that the library subscribes to. One of the most interesting reference questions I have received actually came from our Head Librarian, Doug Litts. Through his own research involving the original location of the AA/PG library – Room 331 of the main museum building – he came across a list of paintings, a marble bust and a cast iron sculpture, that were located in what was known as the NCFA/NPG Library when it was housed in the museum. Through circumstances unknown to us, those artworks were never transported to the Victor Building when the library moved here in 2000. He became very interested in the history of the artworks, as well as where they are now, and recruited me to help him more »
-This post was written by American Art/Portrait Gallery Library (AAPG) Spring 2014 intern Sara Cecilia Johnson. Joseph Stella’s paintings sit quietly, unnoticed on the second floor of the Smithsonian American Art Museum. People often pass them by, maybe one or two stopping to admire the vibrant color or dynamic movement, but otherwise Stella remains an obscure, unfamiliar name to the average American. What they don’t know about is his striking spectrum of more »
- This post was contributed by Kelsey Clark, intern at the Smithsonian AA/PG Library summer 2013. The Works Progress Administration (WPA) was created during the Great Depression as the largest and most ambitious New Deal agency, employing millions of people to carry out public works. This included artists, such as William Gropper, Marsden Hartley, Henry Varnum Poor, or Ben Shahn, who painted murals across the nation, from inside Coit Tower in San Francisco to the Harlem Hospital in New York City. The Smithsonian Libraries collection has books and archival material on the WPA projects, including a file on one man intimately connected to the government project: Dr. Francis V. O’Connor. During my internship, I was given the “O’Connor File” as a research project – a box filled with files containing published articles and books he had written, archival notes, and letter correspondence between the former Librarians at the National Portrait Gallery and various patrons concerning the rights to read some mysterious “questionnaires” that were somehow connected to O’Connor and the WPA. What were more »